The Talk of the Town (1942)

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The Lawgh

***This Review Contains Spoilers***

As a political junkie its fun to watch films like The Talk of the Town and dissect their deeper political and philosophical meaning which in this case is intertwined within a screwball farce that effortlessly transitions between wacky comedy and serious drama. The movie centres on a fantastic triangle of characters played by Jean Arthur, Cary Grant and Ronald Coleman with the real meat of the film being the relationship between Leopold Dilg (Grant) and Professor Michael Lightcap (Coleman) while Miss Nora Shelley (Jean Arthur) tries to keep this unlikely family of three in one piece.

Leopold Dilg is one of the more interesting characters Cary Grant ever played, a radical activist and one role in which we see him dressed just like a commoner. However, he is one handsome activist at that rather than some hair dyed SJW (that man can make any clothes look dapper). If it weren’t for the production code then the character of Dilg would certainly be labeled as a communist. The movie is full of clues pointing to this (educated young working-class intellectual, opposes capitalist corruption, belief that violence is sometimes necessary, his father’s resentment for work, even his fondness for borscht). The production code would not have allowed a possible communist to be a sympathetic character or a hero thus the word “communist” or related term is never mentioned. On the other hand, Dilg is shown to have much respect for the Supreme Court so is he really a communist or just a leftie? With Dilg we even get an insight into why one might be an activist; as he puts it, activism is a form of self-expression – “Some people write books, some music. I make speeches on street corners.” Dilg would have felt right at home in the age of the internet (“When I hear a man talk nonsense I always get an impulse”).

Ronald Coleman, one of Hollywood’s most charming English gents is Professor Lightcap. Dilg and Lightcap are two intellectuals but from different worlds in this clash of the classes yet they find common ground in their interest in the political and philosophical; their conversations and so much fun to listen and make the film worth watching again as they’re a lot to take in. Dilg views Lightcap as “an intelligent man, but cold” with “no blood in his thinking” and thus doesn’t desire to see him take a seat in the Supreme Court with his current mentality. By the end of the film, both Dilg and Lightcap change their philosophies on law. Dilg comes around the see the need for law and order while Lightcap begins to see that the law is not sterile. During the film’s final monologue Lightcap speaks to an angry mob at a courthouse on the importance of law:

“This is your law and your finest possession. It makes you free. Why have you come to destroy it? Think of a world crying for this law. Then they’ll understand why they ought to guard it and why the law should be the concern of every citizen, to uphold it for your neighbour as well as yourself. Violence against it is one mistake; another mistake is to look upon the law as just asset of principles. Just so much language printed on heavy paper. Something he recites and then takes it for granted that justice is being done. Both kinds of men are equally wrong. The law must be practiced every minute, to the letter and the spirit. It can’t exist unless we fight a battle every day to preserve it.”

I’m not sure what message to take from The Talk of the Town. On the one hand, it showcases the importance of upholding a lawful and just society (which would have resonated with the war against fascism in Europe) and the dangers of mob mentality. On the other hand earlier in the film Lightcap spoke of how “If feelings had any influence on the law, half the country would be in jail” and “you conduct your law on random sentimentality and you will have violence and disorder” only to later soften these views as evident by his final monologue. These statements sound just like a description of the PC politics of the 21st century; facts don’t care about your feelings. Just how far will the professor go with this change of heart? Still, at the end of the day, it is thought-provoking stuff.

The character of Tilney (Rex Ingram) is one of the better, more dignified portrayals of an African American as Professor Lightcap’s servant of whom he considers Tilney’s judgment to be superior to his own. In one of the more unusual but emotionally powerful scenes in the movie, Tilney sheds a tear in an extreme and long close up at the sight of his master shaving his beard; a black actor having a long close up with real emotion behind it. The scene plays the emotions up to 11 as Tilney realises his friend and employer is undergoing a profound change as he shaves his beard as a metaphor for casting off old ways.

The beginning of The Talk of the Town is incredibly different from the rest of the film, setting it up as a horror/thriller with its moody, melodramatic music and making Dilg out to be a sinister, threatening character. If you went into the film completely blind you would be shocked as it gradually morphs into a comedy as the lighting and shadows become less dim, the music becomes more cheery and starts to take on a pleasant New England, small-town feel. Likewise, listen out for a piece of music heard throughout the film including at the end which sounds just like Yoda’s theme from The Empire Strikes Back.

Only Angels Have Wings (1939)

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Flying Down To Rio

Only Angels Have Wings is the culmination of the 1930’s aviation pictures (and boy there were a lot of them), helmed by director Howard Hawks who previously directed The Dawn Patrol and Ceiling Zero and even features the casting of Richard Barthelmess, star of such flying pictures The Dawn Patrol, The Last Flight and Central Airport. With World War II on the horizon this genre would never be the same again. Like in The Dawn Patrol, the pilots in Only Angels Have Wings have methods of dealing with reality as the film really examines the psychology of early aviators and the danger they went through to get the job done; Hawks called Only Angels Have Wings the truest film he ever made. Why do flyers do what they do? As Kid (Thomas Mitchell) puts it, “I couldn’t give you an answer that’d make sense”.

The first 30 minutes of the movie takes place in real time in what is my favourite section of the film in which a whole host of emotions are presented with a short period of time; a real piece of film magic. As we are introduced to the cast and become attached to pilot Joe Souther (Noah Beery Jr.) as he and his buddy become friends with an American tourist Bonnie Lee (Jean Arthur) only for him to be killed in a flying accidents moments later when he’s called on short notice to deliver mail. Death is such a normal occurrence that the squadron leader Geoff (Cary Grant) has no problem eating the steak ordered by Joe prior to his death only moments ago while the pilots even sarcastically ask each other “who’s Joe?” when Bonnie questions them on their ability to carry on like nothing happened; a denial of reality in order to deal with reality. Just how healthy is that? Well as Bonnie puts it, “All my life I’ve hated funerals, the fuss and bother never brings anyone back, just spoils remembering them as they really are”. This 30-minute section of the film successfully goes from one emotion to the polar opposite from joy to tragedy and back to joy again. I still, however, can’t find myself fully engaging in the joy of Jean Arthur and Cary Grant playing the piano knowing one of their flying comrades just died a horrible death. Likewise, at the beginning of the film, we also see an interesting method of getting free drinks from a bar if you’re friendly with the owner; I must try that one out sometime.

Jean Arthur’s role of Bonnie Lee, a lone adventuress from Brooklyn is a change of pace for the actress as she leaves her usual urban dwellings. Arthur differs from other Hawksain women due to her absence of sex appeal, she’s simply not that kind of an actress but rather more inherently innocent and sweet hearted. Hawks wanted Arthur to play Bonnie subtly sexy way with Arthur stating, “I can’t do that kind of stuff”. The scene in which she invades Geoff’s room in order to take a bath was never going to be Clark Gable or Jean Harlow in Red Dust with Arthur playing the role, resulting in a scene which is playful without being flirty of sexual. Just listen to her as speaks of how “It’s so cold and rainy outside and nice and warm and cosy in here” – it couldn’t be delivered in a more innocent manner. I feel Jean Arthur represents the way young boys will innocently feel about women before hitting puberty.

I feel the rest of the film doesn’t reach the emotional heights which the first forty minutes accomplished partially due to the lack of the Jean Arthur touch with her being absent for lengthy portions of the film but it is still blessed with a great cast of players. Cary Grant plays a Clark Gable type role, a no-nonsense leader under extraneous pressure in the part of Geoff Carter while silent era star Richard Barthelmess uses his greatly expressive face which carries the baggage of his character. Plus what’s a Hollywood movie from the 30’s without a central to east European comic relief character in the form of Sig Ruman. The one cast member who doesn’t do anything for me is Rita Hayworth whom I’ve never particularly been a big fan off but there is still the bizarre amusement of Grant pouring water over her hair.

Only Angels Have Wings even opens up the potential to be The Wages of Fear of the air when Barthelmess is required to transport nitroglycerine by plane but the movie doesn’t take this far creating a missed opportunity. Regardless the aerial footage of the plans is an impressive sight with long uncut shots as the camera moves along with the aircraft. The film doesn’t identify what country the story takes place, however, I like when classic films leave details like that ambiguous; let your imagination fill in the blanks.